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When a Crop Becomes King Michael Pollan Page 31 + RE + RE RECLAIM RADICAL INTERVEN- + TIONS TRANSFORMING URBAN ECOLOGIES Edited & Designed by Roman Jaster RECOVER Special thanks to Gail Swanlund, Kristen Coogan, Florencio Zavala, Fritz Haeg and Lisa Tucker Set in Brothers, Goudy Sans, Foundry Form Serif California Institute of the Arts September 2006 – May 2007 PROJECTS ESSAYS > LAND USE 1 Wheatfield—A Confrontation: Battery Park LandfillAgnes Danes page 13 When a Crop Becomes King Michael Pollan page 31 2 Not a Cornfield Lauren Bon page 18 New Foundlands George Pendle page 34 3 Land N55 page 24 > MOBILITY 4 Pyöräpartio Cycle Patrol page 41 Bikes, Death and Sacrifice: A Short Story of my Night and Critical Mass Onto page 51 5 Aqua Line Heavy Trash page 46 Blocking All Lanes Sean Dockray, Steve Rowell & Fiona Whitton page 54 > FOOD 6 Public Fruit Fallen Fruit page 63 What’s for Dinner? Michael Pollan page 75 Top of the Food Chain T. C. Boyle page 78 7 Edible Estates Garden Lab page 70 What did you eat and when did you know it? Claire Pentecost page 83 > WASTE 8 The Social Mirror Mierle Laderman Ukeles page 93 The Worm That Earned Douglas Fox page 115 9 Revival Field Mel Chin page 98 Leftovers Mierle Laderman Ukeles page 119 10 Soil Factory N55 page 104 Imagine Earth Without People Bob Holmes page 123 11 Vertical Landscapes Buster Simpson page 111 > PUBLIC SPACE 12 Breaking into Battery Park City After Curfew Nils Norman page 131 The High Cost of Free Parking Ryan Mcgreal page 155 13 PARK(ing) Day Rebar page 134 Who Owns History? David Womack page 158 14 Dachgärten für Alle Roofgardens for Everyone page 141 15 Intersection Repair City Repair Portland page 147 FOOD WASTE Soil Factory page 104 Edible Estates page 70 Fallen Fruit page 63 Revival Field Not a Cornfield page 98 page 18 The Social Mirror page 93 Wheatfield page 13 Vertical Landscapes page 111 Aqua Line page 46 Pyöräpartio LAND USE page 41 Intersection Repair page 147 PARK(ing) Day page 134 MOBILITY Land Breaking into Battery Park page 24 page 131 Dachgärten für Alle page 141 PROJECT SECTIONS The projects in this book are separated into five different sections: land use, mobility, food, waste, and public space. Many projects, however, do not neatly fit into a single category. This diagram displays the sections that each project addresses. SPACE PUBLIC PRAGMATIC Fallen Fruit page 63 Land page 24 Vertical Landscapes page 111 Soil Factory page 104 Revival Field page 98 Intersection Repair page 147 Pyöräpartio page 41 Edible Estates page 70 Dachgärten für Alle page 141 Aqua Line page 46 Not a Cornfield PARK(ing) Day page 18 page 134 The Social Mirror page 93 Wheatfield Breaking into Battery Park page 13 page 131 SYMBOLIC PRAGMATIC vs SYMBOLIC Some artistic intervention projects are symbolic acts that concern themselves with asking questions and pointing to problems. Other projects also offer possible solutions. This diagram attempts to categorize the projects in this book on a continuous line from pragmatic projects to projects that are symbolic in nature. 1 A golden field of wheat planted among the cool steel skyscrapers of Manhattan... 13 > LAND USE AGNES DANES: Agnes Denes is an American artist. As one of the originators of Conceptual art, Denes has investigated the physical and social sciences, philosophy, linguistics, psychology, art history, poetry and music and transformed her explorations into unique works of visual art. WHEATFIELD- A CONFRON Location Downtown Manhattan Date 1982 One of Agnes Denes’ best known earthworks was realized in 1982 on a landfill created with debris from the construction of the World Trade Center. Wheatfield—A Confrontation: Battery Park Landfill highlighted the economic discrepancy between the $158 exchange value of a wheat crop being grown on land valued at $4.5 billion. The value of land in Manhattan, and other world capitals, is no longer attached to what it produces, but to the symbolic value and global prestige it imparts to multi-national corpora- tions. But Denes believes it goes beyond even these issues to something more profound, coming from a relation with the Earth and a reassessment of human values. 14 15 > Land Use The ocean liners that passed us daily learned about the wheatfield and saluted us with their fog horns, and on the Fourth of July the famous tug boat came close to shore and sprayed the field with its red, white, and blue water. The land I used was worth $4.5 billion. It produced a field of wheat worth perhaps a couple hundred dollars on the stock exchange. But it was the first wheat in Manhattan in 300 years—perhaps the first ever, since the Indians planted mainly corn—but also the last while civilization lasted, so perhaps worth more. But that was not my intent. Wheat- field was a symbol, a calling to account. It represented food, energy, commerce, world trade, economics. It referred to mismanagement, waste, world hunger, and ecological concerns. It was an intrusion into the Citadel, a confrontation of High Civilization. Then again, it was also Shangri-la, a small paradise, one’s childhood, a hot summer afternoon in the country, peace, forgotten values, simple pleasures. Wheatfield sprang up twenty feet from the Hudson, one block from Wall Street, flanked by the World Trade Center and the Statue of Liberty. At sunset the four-block site was my studio. Exhausted from the day’s work, I’d look out at the rushing waters of the TATION: Hudson and the yellow stalks of wheat waving in I the wind, savor the heavy smell of the field and the buzzing of dragon flies, surrounded by ladybugs, field mice, praying mantis. BATTERY PARK LANDFILL I was on an island of peace, just a block away from the heartbeat of the city and evening rush hour on West Street. When we harvested, people stood around in silence and wept. Wheatfield yielded several bushels of healthy, golden wheat. Agnes Danes Artist Statement In 1982 I created Wheatfield—a Confrontation, which was 1.2 acres of wheat planted and harvested in lower Manhattan’s financial district. It was commissioned by the Public Art Fund and funded mostly by donations. It became a living mural, involving months of preparation. Rather than gessoing a canvas or prepainting a wall, I had to bring in 280 truckloads of dirt to be smoothed down with tractors and bulldozers and then covered with an inch of topsoil. Then we created 285 furrows, found seed (Minnesota white durum) that would be strong enough to survive in the bad soil and harsh cross winds of the New York harbor, and planted it by hand. The project was badly underfunded, and I had to scramble for soil, tools, and volun- teers. Plus we were treated as intruders by the construction crew building Battery Park City. Although I had a fifty-page contract with the city, it protected everyone but me. But when the shoots came up, a transformation occurred: Hostilities died off, and our former tormentors, the construction workers, boasted about “our wheat field” and no longer threatened us for trespassing. Wheatfield turned out to be the only field in the country that year not affected by wheat smut because we picked it daily by hand. There was no vandalism; even half a million people coming to see Fourth of July fireworks at the Statue of Liberty did not damage it. People don’t hurt what they like. 16 17 2 A field of corn transforms an industrial area into a renewed NOT A space for the public... RECLAIM + RECOVER > LAND USE LAUREN BON: Lauren Bon resides in Los Angeles and holds a Masters of Architecture degree from MIT and a BA from Princeton. She has been involved in urban, public and land art projects in the U.S., Hong Kong, Belfast and Northern Ireland. NOT A CORNFIELD A quarter mile from the original city center of Los Angeles lies an ellip- tical plot of land known as the Cornfield. Once farmland, later a rail yard, it languished for a decade as a trash-strewn brownfield surrounded by low- income neighborhoods. When the city approved an industrial development on the site, a coalition of local groups sued to stop it, successfully lobbying instead for the Cornfield to be acquired as future parkland. In 2005 artist Lauren Bon turned the 32-acre site into a temporary “living sculpture” called Not a Cornfield. For one complete agricultural cycle, it was planted with corn as “an image of desire, hope, and redemption.” Location Downtown Los Angeles Date 2005-06 20 21 RECLAIM + RECOVER > LAND USE Not A Cornfield Mission Statement Not A Cornfield is a living sculpture in the form of a field of corn. The corn itself, a powerful icon for millennia over large parts of Central America and beyond, can serve as a potent metaphor for those of us living in this unique megalopolis. This work follows a rich legacy of radical art during the 20th century on a grand scale. I intend this to be an event that aims at giving focus for reflection and action in a city unclear about where it’s energetic and historical center is. With this project I have undertaken to clean 32 acres of brownfield and bring in more than 1,500 truck loads of earth from elsewhere in order to prepare this rocky and mixed terrain for the planting of a million seeds. This art piece redeems a lost fertile ground, transforming what was left from the industrial era into a renewed space for the public. The California Department of Parks and Recreation is currently designing the historical park this site will become.
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